Editor’s note: This review originally appeared in the Sentinel & Enterprise on Sunday, April 5 — opening day of the 2015 MLB season.

It’s finally here, the day every Boston Red Sox fan has been waiting for.

The boys from Beantown will open the regular season Monday on the road against the Philadelphia Phillies. But if three measly hours in front of the TV isn’t enough to satisfy your major-league cravings, take heart, video games are always there to fill the void.

To mark the start of the MLB season, this week we’re taking a look at a pair of games that put the excitement of pro baseball at your fingertips.

“MLB 15: The Show”

($59.99; PlayStation 4, PS 3, Vita)

Sixteen months into the current console generation, the PlayStation 4 and Xbox One seem to stack up well against one another. Both offer amazing graphics, great online play and their fair share of incredible titles.

That said, there’s no more glaring difference between the two than when it comes to Major League Baseball.

Now entering its 10th annual edition, the “MLB: The Show” series simply has no equal, and this year’s PS 4 version is more spectacular than ever.
From individual blades of grass to the puff of dirt that rises when players run the bases, every aspect of developer SCE San Diego’s latest offering immerses players into a remarkably realistic baseball simulation.

The series’ lifelike visuals get another minor bump with this edition, and small presentation additions, like a side-by-side view of the pitcher and catcher during key at-bats, only add to the sensation of being right there amid the action.

Online, exhibition and franchise modes continue to impress, however as always the true star is Road to the Show, in which players create a character and follow his progression through the minors and on to MLB stardom.

With each new edition of “The Show,” I’ve recreated the same pitcher and slogged my way through several seasons of obscurity, running out of gas around six or seven simulated seasons and then having to start over again with the next year’s release.

Imagine my surprise, then, to find that this year players can import a save from “MLB 14: The Show” and pick up directly where they left off. Same created player, same teammates, same stats – all that’s new is the upgraded visuals.

For such a simple feature, this is an absolute game-changer. Instead of spending countless hours starting from scratch, I was back enjoying the heat of a playoff race in seconds, finally feeling like I might actually finish an entire career.

This is a must-add concept for all sports series going forward. I’m looking at you, “NBA 2K16.” I don’t want to be forced to rehash the draft experience year-in and year-out when my previous edition’s created player is still in his early 20s.

One small gripe that I have every year with this franchise, which is in so many ways complete down to the smallest detail, is that career stat tracking is shockingly lacking. None of my created pitcher’s batting stats carry over from year to year. Likewise, while position players can view their career totals for average, RBIs and home runs, their stolen bases don’t track past the current season.

It’s a bizarre and frankly infuriating oversight for those of us obsessed with recording our players’ progression. Though, admittedly, the percentage of gamers who share this frustration is likely low.

Honestly, there’s little to say about this year’s update to “MLB: The Show.” As it’s been for nearly a decade, this is hands-down the most realistic and enjoyable baseball video game available.

The only threat facing this series is that players must decide whether several minor upgrades justify the annual purchase.

Final score: 8.5 out of 10

“R.B.I. Baseball 15”

($19.99; PlayStation 4, Xbox One, iOS, Steam)

If you don’t have a PlayStation 4, this is what you settle for.

There’s not much praise for the “R.B.I.” franchise, now in its second year since being rebooted.

Stick-figure players all look the same – enjoy seeing David Ortiz with a 32-inch waist — and the presentation is severely lacking. I’m pretty sure the slide-whistle sound effect that accompanies a fly ball was stolen directly from the 1984 Nintendo game “Golf.”

Fielding is a mess. It’s difficult to tell where a fly ball will land, and fielders are so slow that stepping out of position for even a moment means giving up extra bases.

That’s balanced out by poor A.I., which frequently runs into unnecessary outs when trying to stretch a single into a double.

The only positive is that gameplay is widely accessible to all. You use the same button to pitch, swing and throw the ball. There are a couple of others to run the bases, and that’s it.

You can easily start up an exhibition, franchise or online game and be done within 20 minutes.

Fun, however, is lacking right from the outset, and what little is there evaporates over the course of one or two games.

How far are you willing to bend the rules to make sure justice gets served?

It’s a question players will ask themselves over and over while playing “Battlefield Hardline.”

With this latest installment, the wildly popular first-person shooter series makes the jump from military simulator to gritty cop drama.

The single-player campaign follows Officer Nick Mendoza, an idealistic, young policeman forced to question the actions of his fellow drug-enforcement agents and examine what rules are worth breaking when the greater good is on the line.

It’s not Battlefield’s best effort, but the campaign does offer a refreshing respite from the camouflage-clad war heroes of previous titles, while adding some new wrinkles to a familiar gameplay formula.

As an officer of the law, Mendoza must examine crime scenes for clues, gaining extra experience for arresting fugitives with outstanding warrants rather than shooting to kill by default.

The result is a game that relies more on stealth that frenzied combat — though there’s still more than enough of the latter to satisfy even the most bloodthirsty Battlefield fan.

But while I consider myself an avid fan of the stealth genre, I can’t help but wonder if “Hardline” meets action and strategy at the midway point to the detriment of both.

Enemies either wander back and forth across a small patch of land or stand motionless, facing in one direction, as they wait to be knocked unconscious from behind. (Catching a bad guy unaware and handcuffing him causes him to inexplicably fall asleep, complete with a cartoonish “Zzz” graphic above his head.)

If you are detected, survival is a simple matter of hunkering down in a safe corner. Enemies will mindlessly wander directly into your crosshairs no matter how many bodies pile up in that exact spot.

Also, while no part of me misses the false bravado of the military campaigns of Battlefields past, I found myself longing for a larger arsenal. Mendoza can equip one handgun and one secondary weapon, such as a shotgun or sniper rifle. No matter what loadout you choose, you’re bound to find yourself ill-prepared to deal with enemies either too far away or too close.

Furthermore, while patiently subduing foes and scanning for evidence helps Mendoza level up more quickly — earning better equipment — it doesn’t directly affect the overall story. I found myself breezing through levels without any care for non-lethal takedowns, pulling out my scanner only when I felt that familiar, annoying controller rumble that signaled evidence was nearby.

As well-trodden as the single-player campaign feels, the multiplayer option, at least, strives for something new. As far as mechanics are concerned, fans of the Battlefield series know exactly what they’re in for — large-scale, chaotic combat, often involving giant maps and vehicles.

However developer Visceral Games shakes up the standard deathmatch formula (which is still an option) with several new and interesting multiplayer modes. My favorite, Hotwire, is an exciting twist on Conquest, in which each team tries to get behind the wheel of several marked cars and then speed safely around the map, avoiding enemy fire, for as long as possible.

Heist involves the criminal team robbing a vault or armored truck; Crosshair tasks police with protecting and escorting a player-controlled VIP who in the enemies’ main target; and Rescue presents both sides of a hostage situation in which players cannot respawn.

As much as I enjoyed the variety, I didn’t stick with any of the games for long. Even Hotwire’s enjoyable premise is tarnished by poor driving controls that feel straight out of a previous-generation sandbox game.

As someone who still puts stock in the single-player component to the annual deluge of triple-A shooters, “Battlefield Hardline” passes the action-movie test.

There are plenty of goofy set pieces that have become standard for the genre, including a laughable alligator attack and a predictable double-cross. Despite its many flaws, however, the actors carry the story along with enough skill to immerse players in the story.

It’s dumb fun that’s over in a few short hours, but you won’t regret the time or money you spent seeing it through to the end.

A masterful display of platforming mechanics blends seamlessly with an upgrade system that keeps players just ahead of the steadily climbing difficulty curve. But what stands out most amid developer Moon Studios’ latest offering for PC and Xbox One is a beautiful, heartfelt story that unfolds, hand-in-hand, as players explore a unique and captivating fantasy world.

For a game to aspire to excellence in any one of these ways is to aim for greatness. To see them all come together in harmony on-screen is simply breathtaking.

“Ori and the Blind Forest” has rekindled our love video games.

The story unfolds much like a fairytale. Ori, an adorable, furry spirit being with a tiny body dwarfed by massive eyes and ears, is separated from an ancient tree during a storm. After being found and nurtured by Naru, a good-natured, wide-smiling creature, the two form an immediate bond.

Players revel in the game’s early moments as we’re teased with the idea of a journey between these mismatched best friends. However the truth is far darker. Without Ori’s light, the forest is dying.

Once again alone and vulnerable, Ori begins a new quest, determined to bring life back to the forest and restore his home tree.

The game’s vibrant visuals are matched by an equally compelling musical score. The result is much like a Disney movie — a plucky, cuddly hero at odds with a dark and menacing environment. Where once there grew juicy, orange fruit for Ori and Naru to share, there are now only thick patches of brambles, glowing deep purple and throbbing menacingly.

The visuals and sound remain spellbinding throughout, as Ori’s explorations carry him across many unique areas, from towering treetops to underwater caves.

The game takes place in the “Metroid” tradition of platformers. The entire world is open to Ori from the outset. He is only limited by his abilities.

As he learns skills, such as wall-running or double-jumping, he can reach new areas. As the playable space steadily grows, it becomes apparent just how vast and varied this marvelous world is.

While cute and whimsical – or cartoonishly villainous – remain the visual style for the duration, players learn quickly that the platforming mechanics demand the utmost concentration and skill.

Under my care, Ori died over and over again. He drowned. He was crushed by massive stones. He was impaled on thorns. He was cut down by projectiles.

Time and time again I had to steady myself and consider the problem at hand. Not a single death felt cheap or in any way unfair. Every puzzle has a solution, simply requiring the proper strategy and execution to survive.

Furthermore, players choose where to save. If he has enough energy, which quickly becomes abundant, Ori can save directly before any difficult task. It’s an ingenious method to avoid unnecessary frustration.

“Ori and the Blind Forest” is the most satisfying platformer I’ve played since “Super Mario World.”

It bears addressing here that simply controlling Ori’s movements is an uplifting experience. He sprints, bounds and flips through the air with unmatched agility and precision. After enough time, his every action feels like a fluid extension of the player’s will. The sensation of holding a controller gives way to a direct connection between player and character as every acrobatic move becomes second nature.

Early on, it seems impossible to believe “Ori and the Blind Forest” will be able to sustain its momentum. Somehow, impossibly, it does. Every moment of the game feels fresh. Each new area brings wonder and challenge.

As players gain experience, they can choose to improve their skills from among three ability trees. They roughly divide into offensive skills (such as more powerful projectiles), resource gathering (useful items appear on the world map) and exploration (the ability to breathe underwater).

Players can select abilities in any order they choose. Eventually, they’ll all be necessary to fully explore Ori’s world. The surroundings are rich with secrets, many of which require skills you won’t have during your first encounter, making for rewarding backtracking later in the game.
Ori also gains skills that are tied to story progression. There are familiar moves, such as the ground stomp, that open new pathways. However, the ability to slingshot Ori in any direction using an enemy projectile is something completely new and unexpected.

Once acquired, these tactics change the navigation of Ori’s environment in significant ways. Yet Moon Studios still manages to keep the difficulty growing at a steady rate.

I can’t say whether I love “Ori and the Blind Forest” more for its deeply moving story or its unrivaled technical precision. To experience both as part of the same adventure is a marvelous sensation that deserves to be cherished.

With the release of “Dark Souls II,” developer From Software faces the difficult task of creating a fresh sequel to a wildly popular RPG without drastically altering the tone and difficulty that have made the series a hit.

Thankfully, fans of the series can breathe easy – just this once – as the latest edition proves up for that seemingly impossible task. Gamers who enjoy grueling difficulty and the sense of accomplishment that comes on the heels of countless failed attempts have an entirely new adventure to explore.

The player, like others in his or her world, is cursed with immortality, an affliction that over time slowly drives the sufferer insane as they lose their humanity and become hollow. A search for a cure draws the player to the mysterious and incredibly dangerous land of Drangleic, which is where the story opens.

As in previous Souls games, players are assailed on all sides by brutal enemies who, when defeated, drop souls that can be used for purchasing equipment and levelling up. Throughout the quest, sparsely placed bonfires offer brief respite from the heavy cloak of dread that permeates all exploration.

New to Souls II ($59.99; PC, PlayStation 3, Xbox 360), players can now fast-travel between bonfires they’ve visited. It’s a necessary change given the absolutely staggering size of Drangleic, which can easily consume more than 60 hours in a single playthrough.

In a small way, the fast-travel hinders a true sense of ownership over the land. There were some sections that, once passed, I hardly ever returned to on foot again. It’s an acceptable tradeoff, however, given the massive scope of the adventure.

Another major change is that after being killed a certain number of times, enemies will no longer respawn. Where once players could run through low-level areas for hours farming souls and leveling up, they’re now forced to move onward to more difficult foes regardless of their abilities.

Suddenly, every soul feels precious. I found myself purposefully holding back from boss encounters and retreating to the safety of a previous bonfire rather than risk even a small accumulation of the suddenly finite resource.

That said, exploration is what drives “Dark Souls II.” Players are better served relying on skill instead of brute force. No amount of levelling up is a match for carefully observing a foe, learning his attack patterns and finding a way to exploit his weaknesses.

In essence, that’s the true joy of this series. Despite the hundreds of times I failed on my quest, not a single death felt cheap or undeserved. Every setback offers a lesson, and slowly but surely players are able to conquer what at first seemed unthinkable.

It helps that there are myriad paths to improving your character. Sorcerers, heavily armored brutes with massive clubs, and nimble swordsman are all viable builds.

Players can respec their abilities, meaning you won’t have to start over from scratch if you want to know what it’s like to be a powerful archer.

Multiplayer returns, as well. Players leave helpful – or not – hints scrawled throughout Drangleic. They can summon one another to join forces against a particularly difficult boss, or invade another player’s world to do battle. It’s easy enough to avoid these encounters if you wish to go solo, but it means missing a core part of what makes the Souls series unique.

In the end, Drangleic and its denizens are the true stars of “Dark Souls II.” There’s no feeling quite like exploring an area for the first time, low on health and praying to see the safety of a new bonfire around the next turn.

Every step through a fog gate is an act of insanity. Around every corner wait fantastical enemies. Armored knights carried by eagles, endless swarms of rats protecting their leader, an ancient foe who removes his own limb to use as a weapon: These are just a few of the jaw-dropping encounters that make “Dark Souls II” a must-play experience.

With all due respect to Ben Parker, great power is a blast no matter how you use it.

Graffiti artist Delsin Rowe can’t seem to find his place in life, until a run-in with an escaped convict infuses him with incredible abilities. With Delsin branded a bio-terrorist and being hunted by a specialized task force, it’s up to players to decide whether he uses his newfound skills for good or evil.

Developer Sucker Punch Productions hits all of the high notes of what a superhero game should be: The action stays fresh as Delsin rapidly acquires new abilities; Seattle is recreated in stunning detail and serves as a gorgeous, open-world environment; and, of course, player choice heavily alters the game’s narrative.

In the moments when Delsin is hopping dizzily atop the city’s skyline, raining fireballs below at a transport of DUP soldiers, “Infamous” (or “inFAMOUS,” if you’re a stickler for ridiculous branding) achieves a mind-blowing level of free-flowing, organic fun. Unfortunately, a few persistent flaws are enough to bring “Second Son” back down to earth.

Delsin more closely resembles a petulant pre-teen than a rebellious young adult. He whines, he sulks, he quips. He lands one genuinely funny joke for every 10 eye-rollers. The back-and-forth banter with his understandably exasperated brother does little to set the pair up for the emotional moments that follow.

Likewise, the visually stunning representation of Seattle occasionally falls flat. Exploring freely is a marvelous experience, but routine side quests, such as destroying surveillance cameras and searching for audio logs, are unwelcome interruptions. One oft-repeated mission, which involves finding a secret agent in a crowd by viewing his or her photo, can be particularly maddening in areas where civilians are spread out over ground level, terraces and rooftops.

In contrast to these moments, the ability to tag certain areas with graffiti (either good or evil) by holding the controller like a can of spray paint feels much more rewarding. All of these actions are ways to loosen the DUP’s grip on the surrounding community, eventually forcing a showdown for control of the area.

“Second Son” falls into the common morality trap of putting all of the best goodies at either end of the karma tree. Once you make your initial hero-or-villain decision, you’re wise to stick with that path throughout the rest of the game. Evil players are rewarded with more destructive killing techniques, while good ones learn ways to non-lethally subdue large groups of enemies. Each path has its own unique ending.

That said, I sure managed to pile up a lot of evil karma while trying to be a nice guy. Enemies will often throw up their hands and surrender mid-fight, giving you the option to spare their lives. That’s all well and good, but when Delsin is in the middle of a melee combo or we’re all standing atop a crumbling tower, accidental executions become fairly routine.

Frustrated by crowds of anti-bio-terrorist protestors and street musicians who weren’t bursting into flames, I eventually opted to run an evil character simultaneously with my good Delsin. This turned out to be a fantastic idea, giving access to new powers and a completely new style of combat.

Whether you approach them end-on-end or both at once, Sucker Punch’s story is definitely worth a second playthrough, and that’s high praise for any game.

Despite falling just short of something truly spectacular, “Infamous Second Son” should be near the top of every PlayStation 4 owner’s must-play list. Whether Delsin is driven by a sense of justice or a lust for power, his abilities make for one exhilarating ride.

Whether you’re a seasoned pro or brand new to app development, the Sandbox Jam is a great way to hone your skills in a fun, friendly competition. Participants will be placed into teams (or can choose to go solo) and given the weekend to build an app together.

Having various levels of talent on each team is a great way to help newer developers learn important skills, according to Asinine Games, Inc. founder and CEO Brian Dutton.

“It’s really all skill levels,” Dutton said. “It’s a good way to get started making games because you can work with people who have experience. You can collaborate with people with more experience. And for those who already have more experience, if you can try to quickly make a game, it helps your general skills.”

So what does Asinine Games get in return for hosting the free event?

“I’m really new to the area here, I was based in Boston before,” Dutton said. “There’s not a lot of events like this, so I wanted to put this together and see what the interest level is. My kids are going to grow up here and I want them to be able to attend events like this.”

Dutton urged local developers of all skill levels to give the Sandbox Jam a shot.

“For someone who is new to development, there’s game-making software that’s free and super easy to use …” he said. “Part of the goal of this is to get people into making games, and hopefully I can help people who are new to the experience.”

Asinine Games is a developer that focuses on mobile games and apps, including “Sliders,” “Barn Blitz” and “SlenderCam.” Be sure to check out their booth at PAX East in Boston April 11-13.

The full press release promoting the Sandbox Jam is as follows:

“Have you always wanted to make a game but never had a reason? Are you lacking the funds to finally buy the game making software you have always wanted? The Sandbox Jam is a game jam event for everyone, whether you are a game making pro or a total noob, come on down to the Sandbox and get your game on. The goal is to make any kind of game in a weekend, whether the end result is finished, kinda works, or doesn’t really work but you had an amazing time trying. The best way to learn is by doing, and game jams are a great way to get started making games.

HOW IT WORKS:

Typically game jams start with artists, programmers, and audio people forming teams and working together. You are welcome to do a solo jam, team size will be taken into consideration during judging so if you have the guts, fly solo! We will announce a theme at the start of the jam, please send suggestions to briand@asininegames.com.

You will then work on creating a brand new game from scratch with the goal of getting it up and running by the end of the jam. Up and running could just be one playable level, but try to get far enough along that the judges can easily see your concept and game mechanics. You will have until 4pm Sunday to complete and ship your game, then the presentations and judging will begin.

We will have some creative commons licensed art and audio assets available for you to use if you need to, but the bulk of the game should be a completely original creation.

PRIZES:

Did I mention we have prizes?? Really amazing prizes!!! Like a Unity Pro license, Construct 2 Business and personal license, and even something from Izotope for the audio guys! All game engine winners will also recieve a Spriter Pro license from Brash Monkey! Prizes are single software licenses, so take that into consideration when teaming up with others. The single license will go to one person. We are working on art prizes as well, stay tuned!

We will have Unity Pro Suite trial licenses available for atendees to use during the jam so your games can be extra awesome! This includes iOS, Android, Blackberry add ons so you can make your games mobile friendly!

After the winners are announced we will head over to Lowell Beer Works for post jam grog.

WHAT TO BRING:

A laptop

Any gear you need

A sense of humor

Food and drinks

WHAT NOT TO BRING:

Guns

Drugs/Alcohol

Your pets (sorry!)

I’VE NEVER MADE A GAME, WHERE DO I START??

If you have never made a game before, I would suggest using Construct 2 software from Scirra. There is a free version that will allow you to make a full game, although some features are disabled. It is fairly easy to pick up and does not require traditional programming skills. It is a great way to get started making games, check out the beginners tutorial to get you going.

If you have some 3D experience or programming chops you should try Unity, we will have full Pro Suite trial licenses for attendees to use, there is also a free version if you want to check it out beforehand. Unity Technologies is the creator of Unity, a flexible and high-performance development platform used to make creative and intelligent interactive 3D and 2D experiences. The “author once, deploy everywhere” capability ensures developers can publish to all of the most popular platforms. Unity Technologies boasts a thriving community of over 2 million developers including large publishers, indie studios, students and hobbyists. For more information, visit: http://unity3d.com.

There are numerous tutorials on both of these game engines, so you can do a little prep before hand. I would suggest having everything installed and ready to go before the game jam to save time.

There are many other game engines you can use such as cocos2D, GameMaker, Corona, and many others. Use whatever you like!

It’s a theme developer Telltale Games keeps revisiting in the second season of “The Walking Dead” series. Episode two, “A House Divided,” finds several characters struggling through different stages of grief. One is still reeling from a recent tragedy, while another desperately tries to to rebuild after reaching the point of absolute despair.

It’s fascinating to watch Telltale explore these broken spirits, however we never get as much time as we’d like to see their personalities in satisfying depth. The quiet moments of character interaction are the highlight of the series, so it’s a shame to see “A House Divided” lean so heavily on action.

A major complaint about episode one was that Clementine’s new group remained largely strangers throughout. Now, we’re finally getting a peek into the inner workings of these interesting individuals. But every time we start to find out what makes them tick, there appears a zombie horde or cruel twist of fate to conveniently send the story racing forward.

Even so, the action sequences themselves are quite impressive. Telltale has a keen knack for conveying tension, and much of episode two leaves players bracing for the moment when the axe will drop. The episode wraps up with a flourish of dramatic brutality and, of course, more hardship for the group.

While Clementine’s companions remain mysterious, filling the 11-year-old’s shoes has never been more intriguing. Veterans of the series know her to be a determined, resourceful survivor. Her age and non-threatening appearance, however, afford her a level of influence that others lack.

She can speak for the group to disarm a tense standoff, or uncover information under the guise of youthful curiosity. There are also moments of one-on-one dialogue in which she breaks the façade of the helpless child to give added thrust to her argument.

Despite her age and stature, Clementine stands out as a leader among the group. Players can easily manipulate others into following their line of thought, and there’s no reason to lack confidence in her ability to survive any hardship.

And there are hardships aplenty. This season they’ve hit so fast and furious that they’ve lost a great deal of emotional impact.

There’s one tragedy, in particular, that stands out in episode two. A misunderstanding and an itchy trigger finger leave an innocent man dead. Clementine’s reaction is barely a shrug. Her innocence long gone, she walks off to clean out the man’s meager possessions.

From a gameplay standpoint, “A House Divided” follows the familiar path of previous episodes. Players explore areas to uncover objects that advance the story. Quick-time button presses keep Clementine alive during clashes with the undead.

Choice plays a major role, with plenty of chances for Clementine to pick from a branching dialogue tree. Yet, one can’t shake the feeling that, with some notable exceptions, the outcome seems predetermined regardless of what path the player chose.

Telltale continues to impress with both the quality of its writing and depth of its protagonist. However, I can’t say I’m particularly eager to see what episode three has in store. Like many of the characters in “A House Divided,” the never-ending string of hardships has left me skeptical that anything but more misery awaits.

As a TV show, “South Park” has enjoyed 17 years of widespread popularity. In their movie, the crass, wisecracking boys from Colorado hit their prime.

But despite the series’ undeniable success on screens big and small, “South Park” video games have never amounted to more than absolute disappointment. That history of failure finally changed course with the release of “South Park: The Stick of Truth” ($59.99; PC, PlayStation 3, Xbox 360).

Developer Obsidian recreates the quiet mountain town of South Park, Colo., in obsessive detail, cramming in thousands of references to the beloved source material and exploring many of the show’s most popular settings.

This isn’t just an excuse to parade out classic jokes and characters, however. Beneath its often-hilarious façade is a pretty capable role-playing adventure in its own right, aided by a fluid combat system and excellent pacing.

As the new kid in town, players stumble into a make-believe game of elves and warriors that has divided the neighborhood’s fourth-graders. The rules dictate that whoever possesses the Stick of Truth – which is, of course, just a stick – controls the universe, and so the new kid joins a side and begins his quest.

From the outset, the boys’ homemade take on a fantasy epic (think “Lord of the Rings” meets “Skyrim”) pokes fun at the idea of mighty heroes.

Instead of swords and bows, kids wage battle with golf clubs and kickballs. Someone’s living room gets remade as a medieval tavern. Cartman, as a powerful wizard, and dress-wearing Kenny, as Princess Kenny, lead the humans into battle.

What passes for magic is passing gas, and it turns out the new kid has an unrivaled gift for the unpleasant practice. Yes, “South Park” is just as juvenile as ever, but there are far more comedy hits than misses.

The first few hours are a little sluggish as players get their bearings. Soon enough, the entire town opens up and the satire spreads far beyond the kids’ simple game.

In true “South Park” fashion, no one is safe from ridicule. Among the highlights are jabs at the overhyped importance of building a Facebook fan base, consumers clamoring for a Taco Bell and Al Gore’s unheeded cries of global warming.

Factions and objectives swap in and out at a brisk pace, which helps keep the 12-hour campaign from ever feeling stale. Along with collectibles and hide-and-seek quests, there’s a bevy of weapons, equipment and stat-boosting patches to collect. For purely aesthetic purposes, there are hundreds of wigs, glasses and other pieces of flair scattered around town.

The series’ signature brand of high-brow/low-brow humor steals the show. When the kids’ fantasy game spills into the adult world and some very real-life dangers, it’s priceless to see the characters meet somewhere in the middle. Stan’s father Randy is especially loveable, caught between trying to save the town and wanting to play in the fantasy world.

All of the jokes wouldn’t make a difference if not for a clever combat system. The player travels around town with one friend of his choosing, and each boasts special abilities to help in battle and during questing. When enemies are nearby, players can avoid fights altogether by running away or luring foes into environmental kills.

When a brawl does break out, the action is turn-based. Players can use one item or ability and then attack once per turn. Some enemies are weak against one kind of elemental attack (fire, frost, lightning and gross). Some have bulky armor that can be thwarted by one high-damage blow. Others hold shields that call for weak, multiple-impact combos.

I was surprised to find how often I swapped equipment, partners and tactics based on the enemy at hand. It’s not groundbreaking, but “The Stick of Truth” is a capable role-playing game even apart from its brand appeal.

Anyone familiar with “South Park” should know that the show has no qualms about being offensive. There were more than a few moments that had me cringing away from my TV. Foul language and sex scenes aren’t nearly the worst of it.

If you’re looking for a wholesome adventure, this is definitely not the right place. If, however, smart jokes, dumb fun and breaking wind at a former vice president sound appealing, you’ve found the perfect game.

Much of my childhood was spent in the cramped arcade room of a local bowling alley, my parents buying peace and quiet one quarter at a time.

A lot of classic video games came and went from that makeshift daycare over the years, but it’s side-scrolling beat-em-up Double Dragon that’s etched most distinctly in my memory. Twenty-five years and several sequels later, tough-guy brothers Billy and Jimmy Lee return for an all new adventure in Double Dragon Neon ($10; PlayStation Network, Xbox Live Arcade), a faithful homage that recalls all the nostalgic goodness — along with many egregious missteps — of a long-lost period in gaming history.

Developer WayForward Technologies’ tale opens in familiar fashion, with Billy’s girlfriend Marian kidnapped by street thugs and the brothers in hot pursuit. You’ll have to pummel your way past waves of enemies to complete the rescue mission, picking up weapons along the way and collecting cassette tapes to upgrade powerful special abilities.

The tapes fit perfectly with the game’s over-the-top ’80s flair. Mullets, ripped sleeves and air guitar celebrations are on are full display as the brothers set out to prove there’s no problem a few well-thrown punches won’t fix.

The outrageous antics aren’t just visual, either. Instead of fighting run-of-the-mill criminals this time around, the brothers tangle with jetpack-clad jerks, skeleton dominatrices and an obnoxious antagonist by the name of Skullmageddon. At one point, players battle a carnivorous plant with a shark’s head at the end of one tendril and a fire-breathing dinosaur on the other.

The learning curve is steep early on until you get your hands on songs that grant powerful bonuses. Once you gain the skills to conjure fiery dragons and absorb health by attacking your enemies, most of the difficulty drains away.

For better or worse, it’s impressive how true WayForward stays to the series’ roots. Combat feels like a trip back in time, and the game’s old-school soundtrack had me humming along to music I thought I’d long-since forgotten.

WayForward also tips its cap to longtime fans of the series with several subtle references. Skullmageddon decries the slaughter of countless Williamses (the name shared by generic henchmen), and two lumbering enemies appear in reference to a typo that found its way into Double Dragon III.

There are times when this strict commitment to the established formula is a detriment, as well. Old problems like a lack of checkpoints, cheap deaths and dropping your weapon whenever an enemy lands a hit make for moments of absolute frustration.

The characters simply don’t react with the fluidity and control players have come expect from modern games. Movement is rigid, often interrupted by attacks, and it’s easy to throw punches at thin air if you’re not lined up exactly with your target.

Worst of all, Neon adheres to the woefully outdated concept of lives — originally a means to bilk kids out of their hard-earned change. You begin with three, and if you run out mid-level you’re forced to start over from scratch. Several times I died after whittling a boss down to his last ounce of health and had to slog through the entire stage all over again.

One aggravation-saving improvement thankfully does appear. Falling off the map no longer costs an entire life, but rather about a third of the health bar. More minor tweaks of this nature would have made for a much smoother overall playing experience.

Just like the arcade games of yesteryear, the best way to tackle Neon is with the help of a friend. It’s all the more puzzling, then, that at launch players could only team up via local co-op. WayForward plans to patch in online multiplayer soon, but until that happens the game is sorely missing a major selling point.

Even with company, don’t expect much replay value. The campaign lasts between 2-4 hours, with higher difficulty levels unlocked after beating the game. The urge to return and max out special abilities, however, doesn’t nearly outweigh the frustration and tedium of multiple playthroughs.

Once you’ve basked in nostalgia and enjoyed the absurd ride, you’ve seen all Double Dragon Neon has to offer.

The courtyard ahead is crawling with danger as spotlights sweep over guard dogs and trigger-happy mercenaries.

They’ll never know you were there.

Developer Klei Entertainment’s stealth adventure fittingly flew under the radar prior to its release. No matter. Now that Mark of the Ninja ($15; Xbox Live Arcade) is out, fans are making plenty of noise about this arresting 2D side-scroller.

As a member of an ancient order of martial-artists, you awaken to find the temple under attack by soldiers slaughtering everyone in their path. Clearing out the intruders is only the beginning, and the quest for revenge that follows will carry you into the heart of your enemies’ defenses.

To defeat such powerful foes, you require the Mark. No ordinary tattoo, its toxic ink grants superhuman abilities while steadily driving its wearer to madness. You’ll need to exact revenge quickly, then take your own life before the encroaching insanity overwhelms you and destroys the clan.

At its heart, Mark of the Ninja is a supremely satisfying test of patience and cunning. Each level offers myriad paths to completion, rewarding the humane and bloodthirsty alike with seals that can be spent toward upgrading abilities and equipment.

The game’s gorgeous animation style is more than mere eye candy. You’ll know you’re hidden when your character blends into the shadows, making the disposal of nearby light sources an immediate priority. It’s also wise to keep an eye out for hiding places should you need to make a quick escape. Being caught in a well-lit area means almost-certain death and a quick trip back to the nearest checkpoint.

Likewise, every action produces noise and, with it, the threat of discovery. Sounds are represented on-screen as circles that expand from the source, and any enemy within the diameter will be alerted to your presence. Walking slowly produces almost no noise at all, while running will draw the attention of foes from across the screen.

Traversing the dangerous territory is a matter of taste. Using the grappling hook to reach rooftops or squeezing through underground shafts are good ways to avoid conflict. If you prefer a less delicate approach, smash a light within earshot of a guard, then use your sword to silently cut him down when he turns his back. Hide behind a nearby doorway and, when the next patrol arrives to investigate, repeat the gruesome process.

What starts off as a simple task soon escalates as armored guards, dogs and super-soldiers ramp up the difficulty. When you’re not dodging gunfire, there are tripwires, laser beams and other security measures to impede your progress.

Additionally, each level hides a challenge room that operates outside the main story. Free from enemies, these rooms represent a devious collection of traps and obstacles. Puzzling out the increasingly complex solutions without fear of detection gives the game’s impressive strategy element a chance to shine, while providing a temporary respite from the tension of stealth gameplay.

You’ll gain higher scores for each level by remaining undetected and completing specific tasks. The better the score, the more seals you earn to unlock powerful abilities and equipment. Use smoke bombs to distract foes, grab unsuspecting guards from behind closed doors and — if you’re feeling particularly ruthless — puncture a foe with a terror dart and watch him hallucinate, firing wildly at allies and enemies alike.

Completing secondary objectives also unlocks new costumes, each with its own benefits and drawbacks that alter the playing field and keep the action fresh. The lure of new equipment is enough to keep players coming back for more, while those who have finished the game can try their hand at an even more difficult new-game-plus mode.

Mark of the Ninja tells a capable tale through beautiful visuals and engaging gameplay. This highly recommended surprise hit is easily the best stealth game of the year.